Continuum began as an abstract composition made up of a set of interacting elements against a background. This is still true. However, In my own mind, I have come to consider many Continuum pieces as peculiar, stylized observations of massive futuristic spacial, or quantum, constructions. Maybe even involving a wormhole through the fabric of space-time for some civilization well past 1 on the Kardashev scale. At the center is an erratic crystalline form, which is fed by power trains, and all around is a massive multicolored rotating containment structure.

The erratic crystalline form came from a series of experiments of random walks with triangles. Initially, I was moving them around the whole canvas (as with Overgrowth) but it didn’t produce effects that interested me. So, I experimented with various modified forms, including rotation on different axes. Below shows an early output from the project - **Note that this is not an output which continuum will now produce**.

![](ipfs://QmXaNu5awkKCGybAZWFAHZCQmJH1jefSrRpkKgtViVgbp6)

Through this play I found that alternating lighter and darker triangles, while also encouraging the direction to partially draw back on itself, created more crystalline forms. Then I added random walk gradients to the triangles.&#x20;

Later I felt that having the crystals running wild was counterproductive to the piece and so instead they transitioned to being a central point of focus rather than being what the composition was all about. Each random walk in the final project is now much smaller and begins at the center of the canvas.

![](ipfs://QmdS91uFStDywhcfHvV4968aGKSzMsqkGSBisMw3zB6j28)

Aside from the standard, inverse, threshold and washed types, which we will come to later, the most defining trait of each composition is the “Back Style” which relates to a point of construction, activity or deconstruction of these structures. This is further refined by the panel style, the panel density and the rotation level.&#x20;

Each “Back Style” is made up of a lot of randomly sized panels (rectangles or ellipses) which are placed going down the X axis on a random point of the Y axis. At each placement, the canvas is rotated in 2D space by a constant amount. Depending on the size and number of panels, the canvas is usually filled, however, there are sometimes “gaps” which provide a feature of focal interest. Naturally, the space variations have particles/stars rather than panels.

The color on all of these “Back Styles” come from random walks in the RGB color space. Degrees of variability per channel are defined as traits. So, for example, if the red channel has higher variation then the movements of the red color walk will be amplified. I have generally set the starting points to be slightly lighter as this gives the most consistent effects. I have also set the green channel to usually be slightly darker than the others as I have found green can become overly dominant (from my viewing perspective) on these pieces and needs more control.&#x20;

There are 7 Back Styles that can be generated, some examples of which are shown below:-

a) **Classic Space** - In this phase the building elements come together

![](ipfs://QmUWRJZAoxUvpr2KtvTWu1JUXojryzrrtiWrLkBpf3FnQv)

b) **Space Low Rotation** - Rotation is reduced and slightly more equipment added

c) **Small Panel Structure** - A nearly complete small panel structure

![](ipfs://QmbR7HUS5ZPnRZo4VCScxdPwdnsEx4ZZHXiN9D737hFwtt)

d) **Standard Panel Structure** - A complete structure

e) **Large Panel Structure** - Slightly larger panels

![](ipfs://QmUZAaCBfpAY3S5NkTvodF7ACguxW6ouvwCShi7UqS9BwU)

f) **Heavy Rotation** - The structure undergoing heavy rotation (presumed under operation) &#x20;

![](ipfs://QmUNwPTUJenbz17HKiYgxcwqbjNoC7HnYnwcYEz35h7pC2)

g) **Deconstruction** - Rotation decreased and panels detaching

![](ipfs://QmRKcUXiX9mw8qRfTWwe2Mf98EnuEeJ69448aqwEepFQCn)

To complete the composition, I wanted to add curved lines and circular elements. The lines are made up of several hundred randomized bezier curves with graduated color. The base color is either black or the average generated color of the back panels. The circular elements began as circles (representing moons) but I preferred the concept of also integrating rotation on different axes to create tori or spirals.&#x20;

With the random triangular walk experiments I had tried to simulate shapes breaking out of a frame. I also tried various aspect ratios, and generally preferred a portrait style. Due to this I decided to implement a general theme of a cream square frame with a portrait image on top with darker lines breaking out. There are some subtly different frame styles including a type where there is a slight inverse “print” on them. Approximately 10% of outputs will have a square frame as that suits some styles.

Besides the standard outputs, there are 3 more unusual types that I feel enrich the collection and thus have been included. These being:-

1\) **Threshold** : Not strictly threshold, which is either black or white, but a customized filter where there are only a few shades of gray against a cream background. Some of these are my favorites out of the trial outputs. However, my belief is that this collection, overall, gains more with color and hence approximately 10% of pieces are threshold type.&#x20;

![](ipfs://QmcPdLbb4fdPiKnGTWg1ayY1oFpBEeeMswYXrAXvwSvQjc)

2\) **Washed** : This type uses a customized filter on the colors to give a slightly washed texture feel. In some cases it can be combined with “Threshold”.

![](ipfs://QmWUMZKYZCWrVM1zteH9yNMiSH8LSkaVoJ9Fayg5v3GSWM)

3\) **Inverse** : Another custom filter which changes the image to something like its direct inverse with a few adjustments between channel strengths (notably green reduction again) to optimize the effect. Approximately 8% of pieces should be inverse.

![](ipfs://QmVnzz5fVSG5Pi3tnQEhzv9Lu346HYAoXQYpwceYs3gJDX)

Custom grain techniques have also been incorporated into each image to give a more interesting overall texture. I have used a randomized color variation on a pixel by pixel level which generally gives a grainy shadow effect on gradients. Then I have added a subtle custom vertical grain which I believe works well with the orientation of the piece.

This work has been coded using p5.js. Up until last year my (non-blockchain) generative art endeavors were coded with Visual Basic (I am aware how strange that sounds) with attempts using Java or C++.&#x20;

P5.js, while not without some limitations, and performance issues, has been a revelation and I believe I owe a debt of gratitude to the processing foundation. As such, I plan to give 50% of the primary sales, and secondary royalties, for this drop to the processing foundation. I also plan to do this for future drops I do on fxHash.&#x20;

Viewers on computers with keyboards can press s to download a 2400x2400 pixel image of each output.&#x20;

Continuum is licensed under the Creative Commons Attribution-NonCommercial 4.0 International License.

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With the noted exception, the test outputs used on this article have come from the finished code. My hope is that you will enjoy viewing, and possibly minting/owning, the Continuum collection.

Ralgo


Continuum is the culmination of many generative art experiments I have run throughout 2022. It relies heavily on the "random walks through color and space" techniques I have been working with, but also introduces other elements related to 2D and 3D rotation, framing and grains. This article provides my notes and thoughts related to its creation and its traits.

Artist and Collector of generative artworks - http://ralgo.art

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